State Champ Radio Chart Beat
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Marshmello and Kane Brown combine for a first on Billboard’s Hot Dance/Electronic Songs and Hot Country Songs charts (dated May 18) with the arrival of their new collaboration, “Miles On It.”
The single becomes the first to hit the top five of both Hot Dance/Electronic Songs – where it soars in at No. 1 – and Hot Country Songs. (The surveys have coexisted since the former launched in January 2013; the latter list became country music’s all-encompassing genre songs chart in October 1958.)
“Miles On It,” released May 3, drew 11.3 million official streams and 7.6 million in radio airplay audience and sold 4,000 in the U.S. in the week ending May 9, according to Luminate. It also debuts at No. 30 on the Country Airplay chart – where Brown boasts 11 career No. 1s, while Marshmello makes his first appearance – and No. 40 on Pop Airplay.
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Marshmello earns his fourth Hot Dance/Electronic Songs No. 1, tying Calvin Harris and Zedd for the most in the chart’s decade-plus archives. Among all acts, only The Chainsmokers have more leaders (six). Marshmello previously reigned with “Happier,” with Bastille, for a record 69 weeks in 2018-20; “Silence,” featuring Khalid (one week, 2017); and “Wolves,” with Selena Gomez (11 weeks, 2017-18).
Brown leads with his first Hot Dance/Electronic Songs entry.
“Miles On It” is Marshmello and Brown’s second chart-topping team-up, as they become the only pair with a shared No. 1 on both Hot Dance/Electronic Songs and Hot Country Songs: they crowned Hot Country Songs with “One Thing Right” (which did not appear on Hot Dance/Electronic Songs) for a week in October 2019.
Harris Extends Dance/Mix Show Airplay Record
As for another notable No. 1 collaboration, also by acts known for different core styles and who previously recorded together, Calvin Harris and Rag‘n’Bone Man’s “Lovers in a Past Life” ascends to the top of the Dance/Mix Show Airplay chart.
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Harris scores his record-padding 15th No. 1 on the tally (which began in 2003).
Most No. 1s on Billboard’s Dance/Mix Show Airplay Chart:
15, Calvin Harris
13, David Guetta
12, Rihanna
8, The Chainsmokers
7, Madonna
6, Anabel Englund
6, Ellie Goulding
Rag‘n’Bone Man rules Dance/Mix Show Airplay in his second visit to the chart, both made with Harris: their single “Giant” hit No. 17 in 2019. The former has reached multiple Billboard rock charts since breaking through with his worldwide hit “Human,” which marked his sole airplay No. 1 prior to “Lovers in a Past Life,” as it led Adult Alternative Airplay for five weeks in 2017.
Myke Towers earns his second No. 1 on Billboard’s Tropical Airplay chart as “La Capi” jumps 2-1 to lead the May 18-dated list. It’s the second ruler on the radio ranking for Towers, who first crowned the list through “Travesuras” in 2021. While the Puerto Rican picks up his second No. 1 with his second entry, he’s notched 30 titles on the Latin Rhythm Airplay ranking, including 11 No. 1s.
“La Capi,” released Nov. 23, is one of 23 songs on Towers’ LVEU: Vive La Tuya…No La Mía album, which debuted at No. 9 on Top Latin Albums (December 2023). The song launched at No. 7 on Tropical Airplay in March and completes a steady climb to the summit in its eighth week, with 9.17 million audience impressions, up 49% on U.S. reporting radio stations during the May 3-9 tracking week, according to Luminate.
The song’s eight-week trek to the penthouse bests Towers’ preceding ruler: “Travesuras,” with Nio García, Casper Mágico, Ozuna, Wisin & Yandel, Myke Towers and Flow La Movie, wrapped a 17-week journey to in March 2021.
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With “La Capi” ascending to the summit on Tropical Airplay, Towers joins six other artists outside the genre who have secured a No. 1 through a collab or as soloists in the last year.
Here’s the recap of those winners dating back to May 6, 2023:
Title, Artist, Date reached No. 1“El Merengue,” Marshmello & Manuel Turizo, Aug. 5, 2023“Bailando Bachata,” Chayanne, April 8, 2023“Así Es La Vida,” Enrique Iglesias & Maria Becerra, Dec. 9, 2023“Cosas de La Peda,” Gabito Ballesteros (with Prince Royce), Feb. 24“La Capi,” Myke Towers, May 18
“La Capi” also rallies 11-3 on the overall Latin Airplay chart, and gifts Towers his 13th top 10.
Beyond its radio popularity, “La Capi” debuts at No. 45 on Hot Latin Songs, the airplay-, digital- and streaming-combined chart, despite a 2% decline in streaming activity, which translates to 145,000 official U.S. streams logged during the same period. The song joins two other Tower tracks on the multi-metric tally, “Adivino,” with Bad Bunny, which drops 2-4, and “La Falda” dips 15-19.
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The biggest story in hip-hop is the main attraction on Billboard’s Hot Rap Songs chart, where the top six songs on the list dated May 18 all stem from the highly publicized feud between Drake and Kendrick Lamar.
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Lamar wins the battle – at least from a chart perspective – as his “Not Like Us” debuts at No. 1 on the multi-metric Hot Rap Songs chart, which combines streaming, radio airplay and sales data for its ranks. The Mustard-produced cut launches with 70.9 million official U.S. streams in the tracking week of May 3 – 9, according to Luminate, and nabs Lamar a record from his rival. The song’s streaming sum becomes the highest one-week count for a hip-hop title (defined as songs that have appeared or are eligible for Billboard’s Hot R&B/Hip-Hop Songs chart), since YouTube song user-generated content was removed from chart calculations in 2020, taking the honor from Drake’s “Way 2 Sexy,” featuring Future and Young Thug, which racked up 67.3 million streams in its debut week.
Beyond its massive streaming mark, “Not Like Us” also registered 5 million radio audience impressions and sold 15,000 downloads in the same tracking period.
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As previously detailed, Drake and Lamar’s feud origin dates back at least a decade, though the latest stage kicked off with the March release of “Like That,” Lamar’s collaboration with Future and Metro Boomin, in which the Pulitzer Prize winner responded to perceived disses from Drake and J. Cole with attacks of his own. The sparring between Drake and Lamar reached its pinnacle at the top of May, with the pair releasing six songs between them in the span of April 30 – May 5.
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Back on Hot Rap Songs, Lamar also captures the No. 2 slot with “Euphoria,” which holds at the runner-up rank for a second consecutive week, largely through 49 million official U.S. streams. “Like That,” a former six-week champ slides from the penthouse to No. 3 as Lamar’s more recent cuts ride streaming gains to the top two spots.
On Drake’s side, the superstar’s “Family Matters,” debuts at No. 4, spurred by 38 million streams, while his first entry into the battle, “Push Ups,” is pushed 4-6 in its third week on the list. Between the two, Lamar’s “Meet the Grahams” starts at No. 5.
Although the battle may have ended – neither side has issued a new track since May 5 – several of the tracks could linger for weeks to become. “Not Like Us” and “Euphoria” have each been officially promoted by his label to the mainstream R&B/hip-hop and rhythmic formats, with the former debuting at No. 35 on both the Mainstream R&B/Hip-Hop Airplay and Rhythmic Airplay charts. Given their proven streaming popularity with consumers, the hits could continue to generate significant play in the weeks ahead.
No story in music this year has been more all-consuming than the ongoing beef between superstar rappers Drake and Kendrick Lamar (and a whole lot of supporting characters) — and this week, on the chart dated May 18, the Billboard Hot 100 properly reflects the drama’s cultural dominance.
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Three songs from the two feuding artists hit the chart’s top 10 this week, led by Lamar’s No. 1-debuting “Not Like Us” and also including Kendrick Lamar’s “Euphoria” (No. 3) and Drake’s “Family Matters” (No. 7) — while a fourth, Lamar’s “Meet the Grahams,” bows just outside the region at No. 12. The entrance of “Not Like Us” has been particularly explosive, as the climactic diss cut tops the chart with just five full days of consumption to its credit for the tracking week (ending May 9), still amassing over 70 million official on-demand U.S. streams for the period, according to Luminate.
What contributed to “Not Like Us” being such a runaway hit? And what does its success mean for both its performer and its subject moving forward? Billboard staffers discuss these questions and more below.
1. “Not Like Us” posts historic streaming numbers on its way to a Hot 100 No. 1 debut — already Lamar’s second this year from this extended beef alone — while already burrowing its way deep into pop culture. Is this already the biggest diss track you can remember from your lifetime?
Kyle Denis: Easily. The only two that come relatively close are Pusha T’s “The Story of Adidon” and Remy Ma’s “Shether,” but the cultural imapct and legacy of those songs far outweigh their commercial success. I would also be remiss if I didn’t mention Drake’s own “Back to Back” — I fondly remember yelling, “Is that a world tour or your girl’s tour?” all summer ‘15.
Angel Diaz: The only other diss track with this kind of impact was Nas’ “Ether.” That was such a seismic shift in the game, the song’s title became a verb that’s still used 20-something years later. Mustard’s production and the chorus will stand the test of time. Expect to hear “they not like us” a bunch during the college football and basketball seasons.
Carl Lamarre: I’m old enough to have experienced Jay-Z vs. Nas and 50 Cent vs. Ja Rule in real time — but this particular feud has the advantage over those because of the advent of social media. Watching these records fall from the sky and instantly seeing real-time reactions amplified the pressure and momentum of this battle. Fans were huddling around this social media bonfire, clamoring for more, exchanging thoughts and conspiracies in such a short time — and it all climaxed with the ecstatic response to Kendrick’s death blow. Even in past beefs Drake had with Meek and Pusha, neither opponent was as big as Kung Fu Kenny, and certainly neither had a record as big as “Not Like Us.”
Jason Lipshutz: Quantitatively, probably! Diss tracks didn’t tend to top the Hot 100 prior to 2024, a.k.a. The Year of Beef Cuts, and “Not Like Us” starts with far bigger streams than Megan Thee Stallion’s “Hiss” or Future and Metro Boomin’s “Like That” (although time will tell whether “Not Like Us” can stick as long at No. 1 as Kendrick’s three-week chart-topping opening diss). In terms of its stature, however, we’ll need some time to see how “Not Like Us” endures as a standalone single, removed from the context of this Kendrick-Drake diss deluge. Maybe “Not Like Us” gets lumped into the multi-track back-and-forth historically, or maybe it will stand on its own as Lamar’s pop smash with the sharpest edges. Too early to tell for me, but signs point toward “Not Like Us” separating itself from the other recent Kendrick (and Drake) songs commercially.
Andrew Unterberger: Absolutely — that is, unless you expand beyond hip-hop and consider Olivia Rodrigo’s “Drivers License,” one of the only songs this decade (beef or no) to approximate Lamar’s breakaway momentum here. And honestly, even then, “Not Like Us” might still have the advantage.
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2. Obviously there had already been no shortage of memorable and massively consumed back and forth musical moments from this feud, dating back to the first chart-topping blast with “Like That” a month and a half ago. What about “Not Like Us,” either in its content or its timing, do you think was the biggest factor in it hitting an even-higher commercial level than this feud had previously reached?
Kyle Denis: If you’re looking for a perfect storm, “Not Like Us” is it. The timing of the drop was perfect. Kendrick was able to capture the zeitgeist before the “let’s move on” takes started pouring in, and he was also able to quickly build on the momentum of his other culture-shifting diss tracks. You couple that with Mustard’s infectious string-laden beat, a K.Dot cadence that leans more into his West Coast bag than most of his recent output, and a bevy of quotables that double as damning disses – you’ve got a winner.
I think the key difference with “Not Like Us” is that Kendrick made an anthem that people could rally around. Obviously, the West Coast was always going to eat this song up, but by using “Not Like Us” to draw an “us vs. them” line in the sand between Drake and his fans and the rest of hip-hop culture, Kendrick forced people to pick a side and stand tall in that decision. “Not Like Us” rejects ambivalence, either you’re on Kendrick’s side and what he stands for or you’re on the side deemed “certified pedophiles.” Of course, it also helped that Drake didn’t deliver a pop-facing, anthemic hit of his own, leaving room for Kendrick to swoop in and beat him at his own game.
Angel Diaz: The content is almost secondary as to why people enjoy the song. There are those who have prayed for Drake’s downfall and there are others who doubted Kendrick’s ability to make a certified banger. The Compton rapper managed both in this instance. He tripled down on Drake’s rumored age-gap dating habits and used a culturally traditional West Coast sound to further dissect his foe’s overall character and place in rap music. No one expected Lamar to drop something as high energy as “Not Like Us” after the very dark and dramatic “Meet the Grahams” a day earlier.
Carl Lamarre: Kendrick playing chess and using Drake’s strengths against him. K. Dot’s approach in this battle was slow and methodical, like a horror film, and “Not Like Us” was the shocking climax nobody saw coming. He made a West Coast anthem with a DJ Mustard-produced beat that wasn’t only memorable because of the witty catchphrases (“69 God” and “OV-Hoe”), but it placed him out of his element. This knockout blow showcased Kendrick’s proper Gemini side and why we can’t rule out the unexpected when dealing with him.
Jason Lipshutz: “Not Like Us” was released as both a knockout punch and celebration, capping off Kendrick’s speed-bag treatment of Drake’s reputation with his most immediate pop hook in years, a ton of quotable new takedowns and a springy club track courtesy of Mustard. If “Not Like Us” was released at the beginning or in the middle of the Kendrick-Drake back-and-forth, the song’s context changes — but Lamar positioned the track as a victory lap following “Like That,” “Euphoria,” “6:16 in LA” and “Meet the Grahams,” the majority of which were more academic in their personal eviscerations. So really, it was both content and timing that helped elevate “Not Like Us,” and eclipse Lamar’s other diss tracks on the charts.
Andrew Unterberger: It’s the beat and the hook. Lamar’s verses are also largely on point, but they were on “Meet the Grahams” and “Euphoria” too; what sets “Not Like Us” apart commercially is the same thing that initially put “Like That” over the top: It’s just an absolutely killer single by any measure. You could — and by now many doubt have — hear the song blaring out of a car window or in the background at a bar or even through supermarket speakers with no prior knowledge of the feud and think the same thing everyone else did the first time they heard it: “Wow this song rules.” Personally, I was sure from the first second that the strings entered in the intro that this was gonna be the biggest and longest-lasting song from this entire cultural moment.
3. A trio of other Drake-Kendrick Lamar songs from the feud also appear in this week’s top 15: Kendrick’s “Euphoria” (No. 3) and “Meet the Grahams” (No. 12) and Drake’s “Family Matters” (No. 7). Which of the three do you think will prove the most enduring beyond their first week of release and initial excitement over the back-and-forth?
Kyle Denis: I don’t think any of the three songs end up enduring hits, but I’ll give the edge to “Euphoria,” which already has a slew of lines going viral on TikTok and boasts a more radio-ready tempo than “Meet the Grahams.” In that vein, “Grahams” is probably too incisive of a track to become a legitimate hit song, not to mention there’s no hook and it’s the slowest of the three tracks. As for “Family Matters,” it’s a really great track, but I don’t really see a world in which the loser of the beef still squeezes a hit single out of it. Then again, if anyone can do that, it’s Drake.
Angel Diaz: “Family Matters” is the easier listen. Drake is good at that. But: I gave “Meet the Grahams” the car test over the weekend and it gave me chills. I almost wish Drake broke “Family Matters” up into three different songs. I’m not sure if I’ll go back to any of them on a regular basis and while the Toronto rapper’s song is a quality track, it just doesn’t hit the same after what transpired immediately after.
Carl Lamarre: Though “Meet the Grahams” was surgical and exuded Stephen King vibes, “Family Matters” is arguably Drake’s best record in years. From the beat switches to the myriad of flows he had on display, had that song dropped after “Grahams” or didn’t experience any disruption at its release, it could have given Drake “More Life” in this heavyweight match.
Jason Lipshutz: Probably “Euphoria,” which has shown that it has legs on streaming platforms beyond the initial shock of hearing a no-holds-barred six-minute-plus Drake takedown upon its release. Think of “Euphoria” as the yin to the “Not Like Us’” yang, the more stream-of-consciousness version of Lamar’s rap theatrics compared to his radio-ready side — which has also proven to cater to a sizable audience over the past decade. I’d guess that clubs will continue to play “Not Like Us,” while wordplay obsessives will continue to pore over every word of “Euphoria,” in the coming weeks and months.
Andrew Unterberger: Can I vote for “Meet the Grams,” the viral mashup of the beat from “Meet the Grahams” with the vocal from Pusha T’s own Drake-toppling classic “The Story of Adidon”? It feels impossibly right, and I’ve already listened to it more than either of the tracks it’s formed from.
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4. While Kendrick Lamar has already scored No. 1 songs and albums and been one of the consensus greatest rappers alive for over a decade already, this still feels like a new mainstream peak for him. What kind of impact, if any, do you see this recent success having on his career over the next few years?
Kyle Denis: I think that almost totally depends on the style of music he chooses to make. He’s done the pop collabs successfully, he has scores of crossover hip-hop hits, he’s done the big-budget movie soundtrack thing flawlessly – when he wants to meet the mainstream where it’s at, he always wins. Even when he forces the mainstream to meet him where he’s at, as he did with 2022’s Mr. Morale & the Big Steppers, he still pulls off Billboard Hot 100 top 10 hits, worldwide arena tours and robust streaming and pure sales numbers.
At the very least, these recent chart wins will likely line him up for a handsome streaming debut whenever he decides to drop a new LP. There’s also something to be said about this beef causing a generation of listeners who only experienced Mr. Morale in real time to go back and discover the Lamar albums they were too young to take in upon release.
Angel Diaz: Word on the street is that he’s dropping a project this year, so it all depends on if this next album delivers. Jay and Nas dropped The Blueprint and Stillmatic, respectively, during their legendary beef, and both albums are considered classics — with the former widely thought of as an all-timer. If Kendrick drops another classic, the Best Rapper Alive title won’t be leaving Compton for the foreseeable future.
Carl Lamarre: Eyes will be on both Kendrick and Drake, and for obvious reasons. For Kendrick, it’ll be interesting to see if he’ll return to his 2017 bag, where DAMN proved to be his colossal mainstream win, etching out “HUMBLE” — his last solo Hot 100 chart-topper before “Not Like Us” — and his highest opening-week numbers on the Billboard 200 with 603,000 album equivalent units. The bigger question will be: With the battle behind him, can he make records without uttering The Boy’s name and still garner as much interest and attention within his music?
Jason Lipshutz: It’s a great question, and it’s impossible to answer, considering how mercurial Kendrick has proven as a mainstream star over the course of his career. Could “Not Like Us” inspire a run of hard-edged pop singles that continues to flex his muscle on the charts and capture more of Drake’s territory? Will his next album completely eschew this beef, and follow the more insular streak of Mr. Morale? Maybe we simply don’t hear from Kendrick for multiple years after this, considering the extended break before that last album! Kendrick Lamar remains one of our most exciting superstars because of the inherent unpredictability of his artistry, so when prognosticating how this beef affects his future, the answer has to be: TBD.
Andrew Unterberger: I think his first-week ceiling should certainly be higher on his next full-length release than it would be otherwise following the commercially underwhelming (though by this point, fairly underrated) Mr. Morale. But whether he continues having smashes like this from here is entirely up to him; Kendrick has proven on numerous occasions throughout his run that he can produce crowd-pleasers when he wants, he’s just had different priorities a lot of the time. (Which, for the record, is also one of the reasons it hits so hard when he does give the people a proper banger or two.)
5. Meanwhile, Drake has taken perhaps the biggest blow of his career by finding himself the loser of the feud not just among hip-hop heads and tastemakers but among the general public — and on the charts specifically, where Drake rarely loses to anyone. What kind of lasting impact, if any, do you see this loss having on his commercial success moving forward?
Kyle Denis: I think Drake may have a bit of a commercial dip in the coming months, but that’s truly nothing a danceable summer hit or two can’t fix. The real blow for Drake here is where he stands culturally. It’s cool to dunk on Drizzy again. When the No. 1 song in the country is calling you and your affiliates pedophiles and bastardizing the name of your record label, it’s clear that your public perception has drastically shifted. How does Drake regain his cool factor without the cultural/sonic philandering he’s been criticized for throughout this beef? That’s for him to figure out and for us to evaluate when the time comes.
Angel Diaz: Fans have been turning on Drake since Views dropped in 2016. They’ve felt that he’s been in autopilot for far too long. Hopefully the turmoil he finds himself in today will motivate him to challenge himself. He did that with Honestly, Nevermind, but was criticized for not rapping enough and was goaded into releasing For All the Dogs by fans and pundits. I think he’ll be fine commercially in the long run, but this rap thing has never been just about sales. His image took a major blow culturally and that’s something I’m not sure he’ll ever be able to fix.
Carl Lamarre: Zero because soccer moms, teens, and college kids will continue to stream his music and buy his albums as long as he churns out “One Dance” and “Hotline Bling” caliber records. That fanbase was unaffected by Kendrick’s demolition derby and isn’t keen on Drake’s standing within The Culture. He’ll be OK if he can keep the mainstream American singing and dancing.
Jason Lipshutz: Very little, actually! Drake’s reputation has taken a massive hit, but if he drops a new proper single or album in the near future, I’d still expect No. 1 debuts across the board. Real hip-hop fans might look less favorably upon Drake after his skirmish, but he also maintains an enormous base of pop listeners, and remains a giant streaming presence; in spite of the narrative of Kendrick’s lyrical K.O., a slightly weakened Drake is still a superstar.
Andrew Unterberger: At the beginning, I thought there was no way this feud would have any lasting impact on Drake’s commercial fortunes — now I’m not so sure. I do think the answer here is, in many ways, still largely up to Drake and how well he responds to the outcome here. Ironically, the most valuable lesson he can take away from all this is one implied by Kendrick himself on “Euphoria”: It’s time to focus on Drake With the Melodies and not on Tough-Acting Drake. The latter’s been too compromised; the former will always be welcome.
The music of Taylor Swift rules Billboard’s main classical chart, as Vitamin String Quartet’s VSQ Performs Taylor Swift opens atop the Classical Albums survey dated May 18. The 16-song set, originally released in February, enters atop the chart with 3,000 equivalent album units earned in the U.S. May 3-9, according to Luminate. Of that sum, […]
As Kendrick Lamar’s “Not Like Us” launches at No. 1 on the Billboard Hot 100 (dated May 18), the rapper lands his fourth leader on the list as a recording artist. Meanwhile, its producer, Mustard, tops the Hot 100 for the first time in that role. Mustard produced five previous Hot 100 top 10s, dating […]
Post Malone and Morgan Wallen are getting the party started in the U.K., where “‘I Had Some Help” is heading for No. 1. If it holds its position, “I Had Some Help” (via Republic Records) would become Posty’s third U.K. No. 1 single, and second this year following his assist on Taylor Swift’s “Fortnight” (EMI). […]
Dua Lipa achieves her first No. 1 on Billboard’s Top Album Sales chart, as her third full-length studio effort, Radical Optimism, debuts atop the list dated May 18. In the week ending May 9, the album sold 51,500 copies in the U.S. according to Luminate – marking the singer-songwriter’s biggest sales week yet. Her previous best week, both in terms of sales and chart rank, came when her last studio set, Future Nostalgia, debuted at No. 4 with 18,000 sold on the April 11, 2020-dated chart.
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Also making waves in the top 10 of the new Top Album Sales chart: the latest releases from SEVENTEEN, NCT Dream and Sia arrive, while vinyl releases prompt big re-entries for Ye and Ty Dolla $ign’s Vultures 1 and Dave Matthews’ Some Devil.
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Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. The new May 18, 2024-dated chart will be posted in full on Billboard‘s website on May 14. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of Radical Optimism’s 51,500 copies sold, physical sales comprise 39,000 (20,000 on vinyl – her best week ever, 18,000 on CD and less than 1,000 on cassette) and digital download sales comprise 12,500.
The album’s sales were bolstered by its availability across 20 physical variants, all with the same 11 songs. There were 11 vinyl editions in assorted colors (one of which was signed, and most variants were exclusive to specific retailers) and two cassette tapes. In terms of CDs, there was a widely available standard CD with a lenticular cover, and then multiple CD iterations sold exclusively in Lipa’s webstore (a signed standard CD, a zine CD package, and four deluxe CD boxed sets – each containing a branded T-shirt and a CD, and two of the boxes also included a signed art card).
In addition, the album was issued as a widely available standard 11-song digital download and a deluxe digital album with two live bonus tracks sold exclusively in Lipa’s webstore.
Taylor Swift’s The Tortured Poets Department falls 1-2 (51,000; down 53%) after spending its first two weeks atop the list.
SEVENTEEN’s retrospective compilation SEVENTEEN Best Album ‘17 Is Right Here’ bows at No. 3 with 49,000 copies sold. It’s the seventh top 10-charting effort from the group. The set’s sales were supported by its availability across a dozen CD variants, all containing branded paper merchandise like posters and photocards (some randomized). Exclusive iterations were sold by Barnes & Noble and Target, while signed editions were also available.
Ye and Ty Dolla $ign’s Vultures 1 re-enters Top Album Sales at No. 4 following the set’s arrival on vinyl. The effort sold 31,000 copies across all available configurations (up 37,841%). Essentially all of its sales were from vinyl – nearly 31,000, which marks the biggest sales week on vinyl for both Ye and Ty Dolla $ign. The vinyl edition of the album was exclusively sold via Ye’s official webstore, and was initially sold as a pre-order when the album was first released on Feb. 10 (as a paid download and via streaming services). At that time, when customers pre-ordered the vinyl, the webstore stated the vinyl would ship in “2024.”
Swift’s chart-topping 1989 (Taylor’s Version) climbs 7-5 with 7,000 sold (though down 20%).
NCT Dream’s DREAM()SCAPE debuts at No. 6 with nearly 7,000 sold, marking the third top 10-charting set for the act. Effectively all of the album’s sales were on CD, and the set was available in three iterations (all containing branded paper merchandise, with some randomized elements).
Swift’s former leader Lover steps 8-7 with just 6,500 (down 19%).
Dave Matthews’ Some Devil, originally released in 2003, returns to the chart for the first time since 2004, following the set’s release on vinyl for the first time. The set sold 6,000 copies, with basically all of that from vinyl sales. It was issued in three vinyl variants – a widely available black edition, a blue colored version sold through Matthews’ webstore, and an Amazon-exclusive “fog colored vinyl.”
TOMORROW X TOGETHER’s chart-topping minisode 3: TOMORROW rises one spot to No. 9 with 5,500 sold (down 25%).
Sia rounds out the top 10 with the No. 10 debut of her new album, Reasonable Woman. It sold a little more than 5,000 copies, and was available across eight vinyl variants, as well as a standard CD, cassette and digital download album. It’s the third top 10-charting effort for Sia, and the first since 2016’s This Is Acting debuted and peaked at No. 4.
Kings of Leon are all set to claim the U.K. chart throne with Can We Please Have Fun, the U.S. rock band’s ninth studio album. Based on midweek sales and streaming data captured by the Official Charts Company, Can We Please Have Fun (via Polydor) is in pole position. Should it reign over the Official […]
Shakira and Grupo Frontera celebrate a dual win on Billboard’s Latin Airplay and Regional Mexican Airplay charts as “(Entre Paréntesis),” their first collaborative single, crowns both lists dated May 18. The track is Shakira’s second regional Mexican pair-up, and her first to rule both charts simultaneously.
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On Latin Airplay, “(Entre Paréntesis)” jumps 2-1 to top the overall Latin radio list despite a 3% dip in audience impressions, to 9.63 million, on U.S. reporting radio stations during the May 3-9 tracking week, according to Luminate.
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With the ascension, Shakira adds her record-extending 23rd No. 1 on Latin Airplay among women in the chart’s almost 30-year history. Here’s an updated list of the female artists with the most No. 1s on Latin Airplay which launched in 1994 (overall, J Balvin continues at the lead overall, with 36 No. 1s):
23, Shakira17, Karol G11, Gloria10, Jennifer López10, Natti Natasha7, Rosalía6, Becky G
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Grupo Frontera, meanwhile, captures its third champ, after “Bebe Dame,” with Fuerza Regida, for one week atop in 2023 and “Un X100to,” with Bad Bunny, with a six-week domination in 2023.
“(Entre Paréntesis)” is the ninth single off Shakira’s 12th studio album Las Mujeres Ya No Lloran, released March 22. The set made a splash across Billboard’s charts, including a No. 1 start on Top Latin Albums and Latin Pop Albums, and a top 10 debut on Top Album Sales and Vinyl Albums charts (dated April 6).
“(Entre Paréntesis)” is the second regional Mexican song to concurrently top Latin Airplay and Regional Mexican Airplay. Previous “Por El Contrario,” by Becky G with siblings Leonardo and Angela Aguilar, topped both rankings for one week on the chart dated March 9.
Over on Regional Mexican Airplay, “(Paréntesis)” takes the lead (rising 2-1) with 7.32 million audience impressions, down 4% across regional Mexican stations. The move earns Shakira a first No. 1 on the tally, after “El Jefe,” with Fuerza Regida, took her to a No. 9 high in Nov. 2023. The Edinburg, Texas band picks up its ninth No. 1, and enters a tie with Banda MS de Sergio Lizarraga and Grupo Firme for the third-most No. 1s this decade.
All charts (dated May 18, 2024) will update on Billboard.com tomorrow, May 14. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
